THE CRUSADERS continue in their attempt to alienate all their original fans. Joe Sample and Wilton Felder (who will be doing production work here several times a year now) have produced, written and played on the next release by — honestly, you’re never in a million years going to guess this, and in fact I find it hard to believe still, despite Joe having told me himself — yes, really, Kelly Marie! . . . Tony Jenkins SFX-like ‘Soul On Sound’ cassette magazine debuts this week and includes a review section constructed as a marathon mix of just 45 seconds each of 26 records, all segued in a continuous session by myself — and considering the restrictions, TJ hovering stopwatch in hand to tell me when 45 seconds was coming up, I think the result ain’t bad (it really was just one take, but there’s a splice near the end as a stylus jumped!) . . . Motown’s Robert Blenman is planning some Rick James promotion nights (featuring his records and videos with giveaways etc.) for the period 19-29 August and needs more midweek venues — if interested, contact Robert or Rose on 01-499 4100 . . . Rick’s follow-up, due then, will be ‘Hard To Get’ . . . Phonogram’s Jeff Young urgently requires heavy metal jocks for a new mailing list — apply to him with full genuine work details at Phonogram/Decca, 50 New Bond Street, London, W1 9HA . . . Polydor Promotions’ Adam Vincent is putting together a very limited video club list . . . Sharon Redd’s UK single looks like being ‘In The Name Of Love’ (oh well, another one down the tube) . . . Narada Michael Walden’s ‘Summer Lady‘, evidently big on the Continent thanks no doubt to its French speaking lady, is now on US Atlantic 12in flipped by his current UK issued ‘You Ought To Love Me’ . . . Rah Band’s remixed ‘Tears And Rain’ is due now as the A-side on 3-track KR 12in flipped by their recent TMT red label’s other two cuts . . . Pinnacle distributed Ace Records (one of Ted ‘Rock On’ Carroll’s labels along with Chiswick) in August launches a new Kent Records logo especially for ’60s soul, starting with a ‘For Dancers Only‘ LP containing such Northern specialities as Mary Love, Felice Taylor, Ikettes, ZZ Hill . . . Phonogram’s licence for Can’t Stop Productions — Ritchie Family and, er Village People product — expired last December so rather than having to renegotiate a new deal which would include the, er, Village People they passed on the Ritchie Family (although there were belated talks about just their album until that subsequently stiffed), while Can’t Stop’s deal with RCA evidently doesn’t include Britain . . . Whitehaven Whitehouse’s DJ Colin Young has his club top 20 on Radio Luxembourg this Friday (11pm), Colin’s own ‘Turn It Up’ show going out on BBC Radio Cumbria every Tuesday and Thursday 5-6pm . . . Luxembourg irritatingly kept fading away during Alan Coulthard’s ‘1979 CBS’ mix last Friday, a week when Alan sported his first love bite from a home town Cardiff girl who didn’t know he’d found such fame in London, that he’s now even getting records from Fred Dove! . . . WEA’s Dove incidentally takes time out in North Wales this weekend to help Al Taylor run to WEA party nights on Fri/Saturday at Poppeys in Bodelwyddan, just south of Rhyl . . . Roger Tovell’s Friday Funkshun show on Gloucester’s Severn Sound (388 MW) is an hour shorter now, 8-10pm, but much more up-front since its reclassification as a minority interest programme — Roger also jocks Fri/Saturdays at apathy-filled Stroud’s Brewhouse . . . Capital Radio’s Tony Hale, once producer of Radio One’s old Al Matthews soul show, never stopped talking about Bobby McFerrin during his on-air plugs for the Knebworth jazz festival (where the weather continued to be fine) — I wonder who told him Bobby was hot! . . . Jennifer Holliday is now top US black single and climbing the pop chart too . . . Angela Clemmons here has finally broken outside gay clubs — and it’s good to see Second Image with a chart hit at last . . . Irene Cara’s 12in quartz locks at 130bpm, the massive success of ‘Fame’ unfortunately proving that as people go out less these days you’ve really got to be on telly to get a hit . . . Gary Allan (Liverpool McMillans) says: “Still waiting for the return of the US Disco chart, as Billboard is starting to eat a large hole in my pocket — I’d rather buy a record with the money it costs” . . . Pete Tong should note my idea of soul is not “one big hand-clap”, although handclaps do help make disco records danceable — trouble is, there are not many people left who can remember my own idea of real soul (for instance, how many Falcons fans are out there now?!) . . . Jeff Young, Ian Shaw, now Wigan Pier’s Greg Wilson is the latest with a poodle haircut . . . Paul Anthony (Wolverhampton’s luxurious Eve’s, where he’d welcome more artist PA’s) watched for the first time a video of the movie ‘Fame’ and was more shocked by the language than young son Duncan! . . . Edgbaston Faces French jocks Steve Dennis and Alan Gibson are both noticing a demand for newer and newer material, Gibbo in the previously futurist-slanted Club Jardine section now playing what he calls “innovative uptempo electronic dance music”, which combines electro pop, funk, and gay sounds . . . Gary Old is packing Aycliffe Bee Jays at the weekends with mainly soul/funk people, nevertheless breaks up the night with no complaints from anyone by catering to the future-pop fans with two half-hour spots early and late in the evening . . . Newcastle Upon Tyne’s David Emery (54 Reid Park Road, Jesmond, NE2 2ES) has been operating a hand serviced promotion service to just a dozen or so Newcastle/Sunderland area DJs on behalf of various major labels (no jerks serviced and no other DJs needed at the moment), and would welcome further record company interest . . . Trevor Hughes of Telford’s Redeye mobile says Abba’s ‘When All Is Said And Done‘ is currently big with rock fans when played at 33 1/3rpm and introduced as the newie by either Jim Steinman or Meat Loaf! . . . Mike Page (Telford Nell Gwynn) had better strap on his cowboy holster incidentally as Trev is gunning for him with the charge that by under-cutting fees at the gig he’s spoiling things for established local jocks . . . Graham Gold hosts the first of four Sundays this week (1) at Deptford’s Albany Empire to be divided fortnightly between funk and reggae, this Sunday seeing Incognito and One Force playing live, then Second Image there two weeks later (15) . . . Keith Barker-Main, ex-Earls Court Grafitti, starts a weekly gay night at Brixton’s well-appointed Fridge club next Thursday (5) . . . Imagination ‘Just An Illusion’ still gets more requests than ‘Music And Lights’ — anyone else notice that? . . . Paul Major is busy at Great Yarmouth’s Brunswick Regency Suite yet still finds time to write a weekly Country Bumpkin newsletter full of reviews of his promos, and to write a book (which he’s paying to have published — Paul, that’s a con, they should be paying you) — so why’s he looking for work elsewhere? . . . Paul’s brother at some other unidentified East Anglian hot spot, Roger Dynamite, was impressed by the fun and games during a recent Tony Prince appearance, a “change your clothes” competition producing lots of fast fully frontal stripping, followed by 1500 plus people all turning their clothes inside out to Odyssey . . . Steve Day next season starting 21st August will be club DJ at Leyton Orient football ground . . . Bob Jones & Nicky Peck’s recent Isle of Wight jazz-funk boat trip had the added attraction of a close look in Portsmouth harbour at all the returned Falkland fleet . . . Hot Quisine ‘Keep That Same Old Feeling’ finished copies quartz lock at 124bpm . . . Chris Britton: ‘Saddle Up’ is 110bpm, T-Connection ‘Wanna’ 120-122bpm, OK? . . . Tony Reeve (St Albans) thinks it’s unfair and sexist in this age of ‘equal pay’ that club managements should give concessions to women with free or reduced admission and fewer dress restrictions than for men — but, Tony, think about it as a man, aren’t you going to frequent a club that’s full of scantily clad young ladles? . . . Paul Macey has moved residencies on the Isle Of Wight to the Warners Puckpool Holiday Camp at Ryde, while Mad Marx says “hi de hi” and “see you in September” to his jazz punters from his seasonal stint as a Redcoat at Clacton on Sea Butlins . . . Gary Allan is now taking bookings for a weekender at Butlins in Wales, any DJs want to join him? (that’s a joke!) . . . M Platts says “I’ve got to be honest, sometimes I do exaggerate” — no, surely not? . . . Nick Bradman, resident at Sheffield’s luxurious Maximillions, writes in the guise of “Disgusted, Rotherham” that as a bona fide full time DJ he still doesn’t get many promos . . . Edinburgh’s naughty DJ is rumoured now to have been using other DJs names to try and get additional mailouts from record companies, which may unwittingly have cut off the genuine DJs . . . oh for a return to the days when everyone bought all their records . . . KEEP IT TIGHT!

UK NEWIES

I LEVEL: ‘Give Me’ (Virgin VS 523-12).
Brilliant British trio, (two white, one black) debut with a fantastically simple catchy fresh 113½–114½–113½bpm 12in snapping and tapping roller (dynamite between Freddie James and Larry Graham) full of weird effects and budgie noises, smoothly chanted or instrumental on the ‘3 a.m.’ flip. This has crossover pop appeal just as much as the funksters will love it.

EVELYN KING: ‘Love Come Down’ (RCA RCAT 249).
Typically well controlled and carefully crafted steady 116-117bpm 12in snicker, terrific out of Larry Graham, with a surprisingly faster 117½-118½bpm instrumental flip, Evelyn wailing well and most powerfully as it progresses, but unless she pulls pop punters pre-conditioned by Patrice she may not cross over from the committed disco crowd this time.

ROY HAMILTON: ‘Take Your Time (The Ultimate Mixx)’ (Excaliber EXCL 522).
Roy’s terrific frantically fierce smacking Narada/“D” Train-inspired 130(intro)-123-121-123bpm 12in instrumental exciter has been cleaned up since its brief burst of white label activity — but beware, as it’s the flip that’s good, his new remixed vocal A-side now actually being worse than the first.

SLY CABELL: ‘Feeling Fine’ (Virgin VS 525-12).
Shep Pettibone-mixed gradually building jittery 110bpm 12in roller reaches an Odyssey-type feel (they mix although there are now many more which do so much better), with a B-side emptier strung out remix that’s weaker as a song.

HIGH FASHION: ‘You’re The Winner’ (LP ‘Feelin’ Lucky’ Capitol EST 12214).
Like the Jacques Fred Petrus-produced group’s name implies, the two gals one guy feature a brittle gloss on their debut LP, best being the 117bpm snappy strutter (dynamite between Evelyn King and Aretha Franklin), while ‘I Want To Be Your Everything‘ is a jolting slow 93bpm “new soul” jogger with nice sax, ‘Hold On‘ a driving 122½bpm smacker and ‘Next To You‘ a lurching 114bpm shuffler.

POWERLINE: ‘Watching You’ (PLR 1-12, via Pinnacle).
Pleasant sounding if not particularly incisive 124-125-124-125bpm 12in flowing Britfunk bubbler with the title line soulfully harmonised, and worked over and over again in nicely dated style, flipped by a tougher cool 127-125-126bpm instrumental version which may be better for floors.

BOYS WHITE TEETH: ‘Prices (Will Be Quoted)’ (TW HIT 12-108, via Pinnacle).
Seven promising Hampshire lads who used to gig as Funktion tread the fine line between Britfunk and white boys on a brassily burbling 127bpm chanted churner on thls 3-track 12in debut release from the new Melksham (Wiltshire)-based Tracks West label, flipped by the jazzier instrumental 125-127-128-127-128-0bpm ‘Trip To Rio’ and unison rapped jerky 124-126-124bpm ‘Fame’ (popular title that). Vocally, they teeter over into white-boys territory.

CHANGE: ‘Hard Times (It’s Gonna Be Alright)’ (LP ‘Sharing Your Love’ London SH 8550).
Disappointing Petrus & Malavasi-produced set, the best track already being on single, leaving this dull jolting 105bpm funk smacker, a chick-sung 107bpm revival of the Four Seasons ‘Oh What A Night‘, slowies and stuff.

EDDIE MURPHY: ‘Boogie In Your Butt’ (US The Entertainment Company/Columbia 44-03012).
Get down and boogie blast of the week, this lays down a terrifically infectious floor-filling 116bpm 12in groove behind the conversational then gritty rapping of US TV’s ‘Saturday Night Live’ personality (instrumental flip). Whether Liberal leader David Steel’s New York recorded rap record can sound as good must remain to be heard!

PEECH BOYS: ‘Don’t Make Me Wait’ (US West End WES-1240).
Mixing jocks must now get this the 7in version as the flip is totally acappella, like the tail end of Rockers Revenge only even more useable, to slip in over the top of all sorts of other records instrumental sections.

BLOODSTONE: ‘We Go A Long Way Back’ LP (US T Neck FZ 38115).
Out a while and now happening for the easily swaying Imagination-ish 112bpm ‘My Love Grows Stronger’ and strongly funky 114½bpm ‘Funkin’ Around‘ (great out of Eddie Murphy), this dynamite Isley Brothers-produced set is terrific listening, the whole slow deeply soulful side one — including their US soul smash 31/62bpm title track — being reminiscent of and on a par with the best of the Dells or Chi-Lites!

MIDNIGHT STAR: ‘Hot Spot’ (LP ‘Victory’ US Solar 60145).
Machine honed hard knocking effective 113-114bpm funk smacker with nice Temptations-ish vocal interplay (good out of Bloodstone ‘Funkin’ Around’), by far the main standout on a Solar set that includes other smackers like the 116bpm title track, 125bpm ‘Strike A Match‘, 124bpm ‘Make Time (To Fall In Love)‘.

UNLISTED: ‘Reggae On It’ (Jamaican Thompson Sound DSR 5387).
Uncredited as the blank label B-side to a “pre”-pressing of Freddie McGregor’s ‘Big Ship‘, although not by Freddie, this terrific 96bpm 12in reggaefication of Kool’s ‘Get Down On It’ may be hard to find but well worth the effort, Rayners Lane’s Paul Mohamed having flogged me his own personal copy.

DAYTON: ‘Hot Fun In The Summertime’ (US Liberty 7203).
Fairly straightforward seasonal revival of Sly & The Family Stone’s 1969 US hit, here an ever looping 99bpm 12in tripping jogger with the original’s vocal interplay retained, while on their ‘Hot Fun’ LP (LT-51126) William ‘Bootsy’ Collins contributes much to the hard smacking 99bpm P’funk jiggler ‘Krackity-Krack‘, with Rahni Harris helping a lot too throughout the uniformly competent funk set, the driving P’funky 112bpm ‘Gunch‘ especially (good out of Zapp) and unison sung soulful slowly twining 0-79-91bpm ‘Patiently‘ being others to hear. Gunch, Gunchback Boogie Band — what is this “Gunch”?!

LEROY HUTSON: ‘Paradise’ LP (US Elektra 60141).
If you haven’t yet got his dynamite sound effects filled funky fluctuating c.119bpm ‘She’s Got It’ 12in, get it on this album instead because although nothing else is as danceable, the whole LP is great listening, the chugging 114bpm ‘Nobody But You‘ and ‘Whip’-tempoed c.129bpm ‘Stay At It‘ rounding out the fast side while the whole of the relaxed mainly down tempo side one is bliss!

WEEKS & CO: ‘Go With The Flow’ (Canadian Black Sun MM-001).
The ‘Rock Your World’ mob aren’t in particularly good voice on this 119½bpm 12in judderer, but it gets better from the bass halfway and becomes quite usefully “fierce” with butch “watch it” and chanting chix bits amidst the beats, while the 2-version flip’s slower 117bpm instrumental although calmer may have more jazz-funk appeal as the underlying tune is quite pleasant.

Related

This weeks cultural references include… “poodle haircuts” of course Hammy is referring to the dreaded curly perm so beloved of professional footballers at the time. Interesting to note the mention of ACE Records launch, one of the best labels in terms of quality product produced by folks who love music. The phenomenon that was “Fame” was on the rise too. Ah, that blasted poor signal from Luxembourg that always dropped out when the DJ was announcing the name of the artist performing the new record just played!